essays

Journal articles

2019. “Vinyl as event: Record Store Day and the value-vibrant matter nexus.” Journal of Cultural Economy. @journalofculturaleconomy
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2019. “Technological Encounters in the Interculturality of Istanbul’s Recording Studios.” El Oído Pensante 7(1): 145-71. @eloidopensante || @academia.edu || @researchgate
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2019. “Actor-Network Theory and Organology.” Journal of the American Musical Instrument Society 44. @academia.edu || @researchgate
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2013. “Popular Music Studies and the Problems of Sound, Society and Method.” IASPM@Journal 3 (2). @iaspm@journal || @CUNY || @academia.edu || @researchgate
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2012. “The Social Life of Musical Instruments.” Ethnomusicology 56 (3): 363–95. @jstor || @CUNY || @academia.edu || @researchgate
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2012. “What Studios Do.” Journal on the Art of Record Production 7. @arp || @CUNY || @academia.edu || @researchgate
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2010. “Mixing for Parlak and Bowing for a Büyük Ses: The Aesthetics of Arranged Traditional Music in Turkey.” Ethnomusicology 54 (1): 81–105. @jstor || @CUNY || @academia.edu || @researchgate
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2009. “Ron’s Right Arm: Tactility, Visualization, And The Synesthesia Of Audio Engineering.” Journal on the Art of Record Production 4 (October). @arp || @CUNY || @academia.edu || @researchgate

Book chapters

2020. “Feeling analog: Using modular synthesisers, designing synthesis communities.” In Shaping Sound and Society: The Cultural Study of Musical Instruments, ed. Stephen Cottrell. London: Routledge. 
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2019. “Technological and Methodological Assemblages: Analyzing the Production of Culture in Istanbul’s Recording Studios.” In The Ethnography of Recording Studios, ed. Giovanni Giuriati and Serena Facci. Fondazione Giorgio Cini.
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2019. “Recording Studios Since 1970.” In The Bloomsbury Handbook of Music Production, ed. Simon Zagorski-Thomas and Andrew Bourbon. New York: Bloomsbury Academic.
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2019. “Agency in Contemporary Recording Production.” In The Oxford Handbook of the Creative Process in Music, edited by Nicolas Donin. New York: Oxford University Press.
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2018. “Producing TV Series Music in Istanbul.” In Critical Approaches to the Production of Music and Sound, edited by Samantha Bennett and Eliot Bates, 81–97. New York: Bloomsbury. @academia.edu || @researchgate
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Bates, Eliot, and Samantha Bennett. 2018. “The Production of Music and Sound: A Multidisciplinary Critique.” In Critical Approaches to the Production of Music and Sound, edited by Samantha Bennett and Eliot Bates, 1–21. New York: Bloomsbury. @academia.edu || @researchgate
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2014. “Music, Mobility and Distributed Recording Production in Turkish Protest Music.” In Oxford Handbook of Mobile Music Studies, edited by Jason Stanyek and Sumanth Gopinath, volume 2:339–60. New York: Oxford University Press. @academia.edu || @researchgate
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2004. “Glitches, Bugs, and Hisses: The Degeneration of Musical Recordings and the Contemporary Musical Work.” In Bad Music: Music You Love to Hate, edited by Chris Washburne and Maiken Derno, 212–25. New York: Routledge. @academia.edu || @researchgate

Published conference proceedings

2013. “Idiosyncratic Virtuosity: An Analysis of Three Performances by Istanbul’s Studio Musicians.” In Performance in the Studio Conference. @academia.edu

Reference

2019. “Turkey: Contemporary Performance Practice.” The SAGE International Encyclopedia of Music and Culture.
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2019. “Field Recording.” The SAGE International Encyclopedia of Music and Culture.
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2019. “Ambient Music.” The SAGE International Encyclopedia of Music and Culture.
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2010. “West Asia” Oxford Bibliographies Online (12,500 words)

Citations